"That's Why God Made The Radio" Single!

[the professor]

Well then that certainly wouldn't explain his SOUTH BAY, LOS ANGELES ACCENT!

 The flats vowels of PA and los angeles are very similar. This would explain why dave has such a distinct pronunciation._ I am a professor, but I am not professor higgins. The bottom line is, do we hear dave in the place where I am hearing him, in the responses on the chorus. Plus, is that his great guitar work, and 8th note chuch-chuck, plus some melodic fills, passim?

[buddhahat]

I sincerely doubt that the bridge is Brian's contribution. I would imagine that Brian contributed the following:

Structurally:

- Getting straight to the verse at the top of the song, with a short intro
- Hitting the chorus directly ater the first verse without a bridge. This is a classic Brian technique; I know, because I've ripped it off countless times.
- The quick mini-bridges before the choruses ("like a prayer...")
- The quick bridge and break into the ending coda was probably Brian's idea.

I'd imagine that Brian shortened a few of the parts of the song and contributed to its slightly unusual song structure; while this is a common and quintessentially commercial song structure in 2012, it is emblematic of the work Brian did in the mid-60's.

Melodically and Chordally:

- Some of the aspects of the verse melody (floating above the root note)
- Most importantly, I would imagine the exact chord progression in the chorus of the original demo to be different. The modulations in the chorus ("tune right in everywhere you go," the spooky D Sharp Major 7 to C Sharp Major 7 or something similar)
- Really, the chordal and melodic aspects of the Chorus as it progresses are quintessential Brian, both in their commerciality and their uniqueness. I'd imagine the original tune had a more standard doo-wop progression.
- The extra, extremely powerful "That's Why God Made The Radio" at the end of the chorus. Reinforcing the point of the song beautifully in a very Brian manner.

Arrangement and Production:

As we enter this category, we are more susceptible to being duped. Some of Brian's other songwriting hallmarks are so uniquely his that when they are well-executed, there is little doubt as to the author. Still, the arrangement and production are extremely Brian-style, and I can't imagine how anyone could compare them to Imagination.

- Unlike Imagination, the choice of instrumentation is VERY mid-60s Brian, as it was on Brian Wilson Reimagines Gershwin.
- The beautiful, menacing sax or bass harmonica following the chord changes in the chorus - this was Brian's original version of the Moog and other synth bass we heard a lot in his solo and BBs work from 1976-1988
- The break and a capella tag at the end
- Harpsichord or Rocksichord or some sort of non-velocity sensitive Harpsichord-esque instrument throughout
- The bass hovering around away from the root note of the verse whilst still anchoring the song (BW hallmark)
- The beautiful, understated "Wouldn't It Be Nice" - style arpeggios in the break before the coda

There is a lot more, of course, and these are only my observations. Suffice it to say, though, that there is a lot of Brian in this tune. For the naysayers, think about Brian's motivations in every interview he has given for the past 15 years - he wants a hit. Sometimes he says he can't get hits anymore, but he is always fixated on it.

My guess is that Thomas/Peterik had the song lying around for a while, the record company and the group liked it and thought it had a good chance of being a hit, and Brian, motivated as ever, jumped in and helped make it a true Brian-produced Beach Boys record.

What is probably not written by Brian is the bridge towards the end. Very standard songwriting, and it sticks out like a sore thumb, as do the distorted guitars, which seem to scream "take us seriously!" Brian is typically able to use distorted guitars, synths, etc. to great effect in order to heighten the tension in a song, especially towards the end. This is a pale imitation of that technique, and the guitars are mixed too loud.

All food for thought, anyway!
-b00ts

Great post Boots!

Also check the solitary drum thump followed by glissando organ note at 2.34 - exactly the same technique is used in Nothing But Love and one of the musicians on that session described it as an inspired bit of production from Brian. I'll wager this is also a BW touch for heightening the drama as the other voices come in.

[Micha]

I think Brian wrote all the parts that I like. And Peterik wrote all the parts I don't like.

Likewise, it's the BBs singing the vocals that sound good. And Jeff singing those that stink.

Hilarious!

I just wrote to a big radio station here and told them about the new single and that it is out. Hope they'll play it

Which one, NDR?

[hypehat]

Any brave soul tried to tab this out yet? Would love to be able to play it 

[Ron]

Any brave soul tried to tab this out yet? Would love to be able to play it 

2 or 3 days ago somebody posted the chords, that ought to do in a pinch.  I think it was before the middle 8 was heard though.

[Wirestone]

Also check the solitary drum thump followed by glissando organ note at 2.34 - exactly the same technique is used in Nothing But Love and one of the musicians on that session described it as an inspired bit of production from Brian. I'll wager this is also a BW touch for heightening the drama as the other voices come in.

Actually, I don't think it was "Nothing But Love." The story I heard was about "Summertime," where at 2:56 point everything stops and the drum is thwacked hard three times before the tag starts. The rest of the band thought it was a strange suggestion, but it gives the song a lot of drama. It seems like that's a BW device to focus a listener's attention. And it works, by gum.

[Ron]

I think Brian wrote all the parts that I like. And Peterik wrote all the parts I don't like.

Likewise, it's the BBs singing the vocals that sound good. And Jeff singing those that stink.

Exactly!  LOL  That's the BEAUTY of it, we don't know what happened so we can just think whatever makes our little minds happy.  It's like a religion.  BTW in Heaven everybody has classic cars, none of this new crap. 

Anyways!  Somebody else mentioned that it's good there's cowriters, because we can blame them for the bridge, lol. 

[Jonathan Blum]

The thing I love about the song is how it starts off absolutely conventional and early-rock-era-ballad-sounding...  then gradually starts throwing in some unexpected touches...  then suddenly the harmonies are doing really unexpected things...  then it goes even further off the beaten path.  Of course, later it heads back towards more conventional stuff, even some touches of cliched '80s bombast...  but by the end it's finally back into full artistic voice.

In other words, it's basically the evolution of the Beach Boys themselves packed into three and a half minutes.  Cosy pop turning into art, pulling between the formula and the rewriting of the rulebook.

Only if they spliced a Moog break into the middle would it match more perfectly.  :-)

Cheers,
Jon Blum

[the professor]

and as odd and bombastic as that bridge is, there is a sublime pay off like no other when Mike starts the outro--his finest moment in the song.

[ArchStanton]

The thing I love about the song is how it starts off absolutely conventional and early-rock-era-ballad-sounding...  then gradually starts throwing in some unexpected touches...  then suddenly the harmonies are doing really unexpected things...  then it goes even further off the beaten path.  Of course, later it heads back towards more conventional stuff, even some touches of cliched '80s bombast...  but by the end it's finally back into full artistic voice.

In other words, it's basically the evolution of the Beach Boys themselves packed into three and a half minutes.  Cosy pop turning into art, pulling between the formula and the rewriting of the rulebook.

Only if they spliced a Moog break into the middle would it match more perfectly.  :-)

Cheers,
Jon Blum

I agree with this 100%.  Great post.  I like the heavier guitar sound in the third verse (I believe) that comes out of nowhere.

Does it remind anyone else of Good Timing?  My apologies if that's been mentioned....

[Wirestone]

The thing I love about the song is how it starts off absolutely conventional and early-rock-era-ballad-sounding...  then gradually starts throwing in some unexpected touches...  then suddenly the harmonies are doing really unexpected things...  then it goes even further off the beaten path.  Of course, later it heads back towards more conventional stuff, even some touches of cliched '80s bombast...  but by the end it's finally back into full artistic voice.

In other words, it's basically the evolution of the Beach Boys themselves packed into three and a half minutes.  Cosy pop turning into art, pulling between the formula and the rewriting of the rulebook.

Only if they spliced a Moog break into the middle would it match more perfectly.  :-)

Cheers,
Jon Blum

This is a very smart post. You and Boots win thread prizes for the day!

Does it remind anyone else of Good Timing?  My apologies if that's been mentioned....

Yeah, the second half of the verse seems to lift the "couldn't quite make it / but still I can't shake it" lines from GT.

[Jim V.]

The thing I love about the song is how it starts off absolutely conventional and early-rock-era-ballad-sounding...  then gradually starts throwing in some unexpected touches...  then suddenly the harmonies are doing really unexpected things...  then it goes even further off the beaten path.  Of course, later it heads back towards more conventional stuff, even some touches of cliched '80s bombast...  but by the end it's finally back into full artistic voice.

In other words, it's basically the evolution of the Beach Boys themselves packed into three and a half minutes.  Cosy pop turning into art, pulling between the formula and the rewriting of the rulebook.

Only if they spliced a Moog break into the middle would it match more perfectly.  :-)

Cheers,
Jon Blum

This is a very smart post. You and Boots win thread prizes for the day!

Does it remind anyone else of Good Timing?  My apologies if that's been mentioned....

Yeah, the second half of the verse seems to lift the "couldn't quite make it / but still I can't shake it" lines from GT.

Hate to be this guy, but you're referring to "Goin' On" Wirestone.

[b00ts]

I'm glad you guys enjoyed the post about what I imagine to be Brian's involvement in the single. Indulge me once more and I will offer my best guesses - by no means correct - on who is singing which parts of the song. Obviously there are block harmonies, etc. not mentioned here, and like other posters, I am not nearly as familiar with David's voice as I am with Brian's, Al's, Michael's, and Bruce's.

All of the Beach Boys get to shine on this single. The vocal arrangement was tailored perfectly for their individual strengths, and it brings to mind many classic Beach Boys songs. Giving Brian the lead was a good idea, and he sings it convincingly. Al in particular leaps out of the song frequently, while Bruce's vocals are most noticeable during the choruses and Mike and Davids' voices are most apparent in the coda.

----

First verse:


"Tunin in the latest star
From the dashboard of my car..." - Brian

"Cruisin at 7
Push button Heaven" - Brian lead, Bruce and Alan harmony

"Capturing memories from afar" - Bruce doubling lead in left channel

"In my car" - Alan in right channel

"Far...." bass vocal - Michael




First Chorus:


Chorus falsetto parts - Jeff (singing like Carl)

Chorus non-falsetto parts - Bruce is loud in the left channel, possibly Mike and David
                                        Also unison vocals at some points (perhaps three or more BB's singing the same part together)

Low "everywhere you go" - Mike and Dave

Low wordless bass vocal before last "That's Why God..." Mike and/or Dave

"He waved his hand, Gave us rock and roll, the soundtrack for falling in love" - Bruce singing falsetto into regular voice

"Woaahhh" - Brian, of course

last "That's why God made the radio" of the first chorus - Bruce in left channel, Brian in center right



Second Verse:


"Feel the music in the air" - Brian

"Find a song to take us there" - Brian with Al doubling in right channel

"It's Paradise when I lift up my antennae" - Brian with Al harmonizing in right channel and Left channel (two Als!)

"Receiving your signal like a prayer" - Brian with Al doubling in left channel (the second syllable of the word "signal" evinces  Al's trademark vibrato, which I love"

"Like a prayer" - Al



Second Chorus

"That's why God..." non-falsetto - Al, Mike and Brian

Falsetto tag - Jeff again (obviously)

"Everywhere you go" and "Waved his hand" sustained vocals - Al and Bruce?

The last "That's why God made..." - Bruce again, but fades into Brian for the end of the phrase (!?) NB: Just listened again, and it sounds like Bruce's left channel vocal simply fades out before the end of the phrase, a common tack when doubled vocals don't line up well at the end of a phrase



Bridge


Lead vocals - Brian

"To a whole new generation" - Al, Bruce, Mike, David, Jeff (I don't hear Brian in there but he probably is as well)

"That's why God Made, That's why God made..." - Mike in the left channel (His voice has changed but he sounds great). Multitracked voices come into the right channel, doubling the line towards the beginning of the next part

Lead "That's why God made the Radio" - Bruce and Alan



Coda

Bass "That's why God made..." vocal - Mike and Dave

Right channel harmonies - Al and Bruce

Center Right harmonies - Brian and David

"For fallin' in Love" in left channel - Bruce

Most falsetto and "Goooddddd...." Jeff

3:00 "That's why" in right channel -  Al, killing it as always

[Aegir]

there's a voice or three that sounds like Jeff during Mike's part right after the bridge.

[Zach95]

I kind of really love Jeff after this song...I think he sounds so much like Carl. Please don't kill me.

[runnersdialzero]

If Carl sounded remotely like Jeff to me, I would probably not be able to listen to the Beach Boys.

[FatherOfTheMan Sr101]

The part at 2:22 is as Brian as I've ever heard, from that point on, the song becomes one of my favorites for a LONNNGG time.

[Zach95]

If Carl sounded remotely like Jeff to me, I would probably not be able to listen to the Beach Boys.

How about the "Go-o-d"s in the coda? You don't hear that at all?

[Autotune]

Bridge


Lead vocals - Brian

"To a whole new generation" - Al, Bruce, Mike, David, Jeff (I don't hear Brian in there but he probably is as well)

"That's why God Made, That's why God made..." - Mike in the left channel (His voice has changed but he sounds great). Another Mike comes into the right channel, doubling this vocal as the left channel harmonies come in

Lead "That's why God made the Radio" - Bruce and Alan

Great post, boots. May I suggest that the unison "That's why God made" after the bridge is Mike plus David and Alan. It sounds like more than just one singer (Mike is very distinguishable on "God"), and those three are shown singing (lip-synching in the video). Not being completely familiar with David's singing voice, I'd say it's Mike and one or two others.

[Aegir]

Jeff.

[Ron]

The thing I love about the song is how it starts off absolutely conventional and early-rock-era-ballad-sounding...  then gradually starts throwing in some unexpected touches...  then suddenly the harmonies are doing really unexpected things...  then it goes even further off the beaten path.  Of course, later it heads back towards more conventional stuff, even some touches of cliched '80s bombast...  but by the end it's finally back into full artistic voice.

Yeah!  The first time I heard it, I kind of was following the harmonies, and then it consistantly goes into things you wouldn't expect.  Very cleverly done. 

[runnersdialzero]

If Carl sounded remotely like Jeff to me, I would probably not be able to listen to the Beach Boys.

How about the "Go-o-d"s in the coda? You don't hear that at all?

Worst part of the song, if only because it jumps out of the mix and isn't particularly pleasing to the ears (or my ears, at least). What Carl vocal would you compare this to?

[Wirestone]

If Carl sounded remotely like Jeff to me, I would probably not be able to listen to the Beach Boys.

How about the "Go-o-d"s in the coda? You don't hear that at all?

Worst part of the song, if only because it jumps out of the mix and isn't particularly pleasing to the ears (or my ears, at least). What Carl vocal would you compare this to?

It's cool. It's fine. It does sound like a soulful Carl.

Your attitude is making other people feel like they have to apologize for liking one of the singers on a BB recording. Stop it.

[runnersdialzero]

If Carl sounded remotely like Jeff to me, I would probably not be able to listen to the Beach Boys.

How about the "Go-o-d"s in the coda? You don't hear that at all?

Worst part of the song, if only because it jumps out of the mix and isn't particularly pleasing to the ears (or my ears, at least). What Carl vocal would you compare this to?

It's cool. It's fine. It does sound like a soulful Carl.

Your attitude is making other people feel like they have to apologize for liking one of the singers on a BB recording. Stop it.

Man ;( I'm not. It just strikes me as a very strange comparison, that's all. The "What Carl vocal would you compare this to?" wasn't rhetorical or sarcasm, I was actually wondering.

[Aegir]

I don't think Jeff sounds all too nice singing songs I've already heard Brian in his prime sing better, but being that this is a new song I have no problem with ANY of Jeff's lines, in fact most of the things I like about this song have to do with Jeff's lines. I'm sure 60s Brian or any era Carl could've done them better, but still.

however I will agree that runners that Jeff does not sound like Carl in the slightest on this track.